Icelandic guitarist Hilmar Jensson unfortunately continues to be unknown
when one thinks of young players of that instrument. That being said,
he should be no stranger to those that have followed drummer Jim Black's
AlasNoAxis band, Jensson's highest profile gig thus fardespite
the fact that he has several dates as a leader under his belt, most
of which are on difficult to find Icelandic labels, the strongest
being his excellent 1996 debut, Dofinn. His previous Songlines
record, Tyft, featured the guitarist in a trio setting that
mined abstract/improv modes in collaboration with reedist Andrew D'Angelo
and Black. While certainly adventurous, Tyft was disappointing
due to its lack of cohesion, despite such a solid cast. With Ditty
Blei, Jensson emerges with a new focus both compositionally and
technically. It is simply a joy throughout that will keep listeners
engaged for its entire 53-minute duration.

As for the group sound, those familiar with the music of AlasNoAxis,
Chris Speed's Yeah No ensemble or Human Feel (read: "downtown")
should be comfortable with Jensson's approach. Compositionally,
the ensemble walks the line between the written and the improvised,
made more exciting by Jensson's love of shifting meters, the energized
interplay between the musicians and nods to various influences, including
rock, folk and improv. The compositions for the most part contain
quirky melodies superimposed over offkilter bass/drum vamps or improvised
histrionics, all with shades of melancholia.

Personnel-wise, the aforementioned trio is expanded here by including
trumpeter Herb Robertson and bassist Trevor Dunn. Robertson is the
wildcard and is simply marvelous, consistently demonstrating his brilliance
with various sounds (prompting thoughts of "how the hell did
he get that out of his horn") and his ability to split hairs
with D'Angelo. For instance, his beautifully round tone captivates
on "Correct Me If I'm Right" and his mutework induces
sparks on "Abbi". D'Angelo, another brilliant musician
deserving greater exposure, exalts as well, especially on "Correct
Me If I'm Right", with his tortured, squelchy alto sounding
like he is extracting every last drop from himself. His bass clarinet
also radiates on tracks like the rockish "Letta" or the
folkisms of "Grinning".

As one might expect, Black is phenomenal as usual by propelling Jensson's
shifting meters and vamps. For instance, he sets many a delectable
groove, including the head-bopping variables of "Letta",
the intensity of the second part of "Larf" or "Grinning",
which sounds like it could be on the next AlasNoAxis record. He also
demonstrates his soundplay on the abstractions of the opening sections
of "Larf". Yes, he can also be a sensitive player, seen
best through the brushwork on the peaceful opening remarks of the
multi-part "Davu".

Finally, and perhaps saving the best for last, Jensson is the obvious
linchpin, not as a spotlight hog, but rather as a multi-faceted talent.
Not the kind of player whose purpose is solely to prove his technical
proficiency, he demonstrates that his strength is as a creative improviser
and a solid colorist. So, no, there are no shred-fests or blistering
legato lines; Jensson eschews such nonsense. Instead, he makes his
mark by following his own road, whether strumming peculiar chord rhythms,
scraping the stings to add a distinct flavor or creating abstract,
disjointed, yet synergized remarks to feed his cohorts. Perhaps his
greatest achievements appear on the frantic, chilling soundscapes
of "Gobbles" or the prickly frost of "Everything Is
Temporary". He also demonstrates more conventional lines on "Davu",
as well skilled acoustic thoughts on the album's strongest track,
"Correct Me If I'm Right".

Ditty Blei is a superb release that should hopefully bring
Jensson more recognition and will surely be a boon for fans of any
of the musicians that contribute to his vision. Hopefully, there will
be plenty more on the horizon from this collective.